It’s a tragic love triangle opera set against a backdrop of the Spanish bullring. A beautiful, sultry woman is torn between her love for the man who defended her honor and was forced to become a bandit, and a dashing young matador with cape work and ego to burn.

Zarzuela is a Spanish form of opera that is literally in Domingo’s DNA. As a boy he grew up backstage (in Mexico) watching his famous parents (Plácido Domingo Ferrer and Pepita Embil) perform as the stars of their own Zarzuela company. And it wasn’t long before the younger Plácido displayed his talents as a singer and began a career that has spanned more than half a century.

One of the zarzuelas the Domingo/Embil Company was famous for was “El Gato Montés.” And at the age of 17, Plácido Domingo sang the role of the dashing torero, Raphael, for the first time. In 1994 he starred again as Rafael in Los Angeles Opera’s premiere production of “El Gato Montés.”

Last Saturday at the age of 78, Domingo added role number 151 to his repertory, now singing the baritone role of the brooding bandit, Juanillo, “The Wildcat” in this visually impressive production from Teatro de la Zarzuela, Madrid.

Domingo is accompanied by a stellar cast of Spanish-speaking stars that includes mezzo-soprano Ana Maria Martinez as the love-torn heroine, Soleá, and Operalia-winning tenor, Arturo Chacón-Cruz, as the rising star matador, Rafael, “El Macareno.” The production is conducted with bravado by Jordi Bernàcer, accentuated by a flurry of flamenco dancers choreographed by Cristina Hoyos, who ignited last season’s production of “Carmen.”

If you are not familiar with zarzuela, it’s not surprising. Despite the fact that its history dates back to the 17th century royal court of Madrid, and the number of zarzuelas that have been composed number in the thousands, hardly any opera companies (outside the Spanish-speaking world) have ever presented one. The major exception is Los Angeles Opera, principally due to Domingo, who has championed the art form on stage, in recordings and as a special category of his international singing competition, Operalia.

Traditionally, zarzuelas are lumped together into the category of operettas because they include spoken dialog. This is not the case with “El Gato Montés.” It is in every sense a grand opera with orchestration that evokes the passionate lyricism of Puccini while infusing the music with a Spanish flamenco flavor both in the vocal lines and the abundance of dances. It is an opera that deserves a place in the repertory.

This production, led by Domingo, must be seen to be fully appreciated.

As designed by Francisco Leal with costumes by Pedro Moreno, the opera’s visual scheme begins with simplicity — a village scene represented by a few steps — then gradually builds to impressive dimensions.

But it is the strength of the cast, the vibrant nature of the orchestral performance, and the artistry of the dancers, whose presence is threaded throughout, that makes this production so impressive. Each of the three leads is perfectly cast.

Domingo stalks the stage like a dark force of nature as the desperate outlaw, his voice as powerful as ever. Martinez captures the essence of Soleá, a woman caught up in a deadly tug-of-war of passion, while like a young Domingo, Chacón-Cruz supplies the exact combination of strutting machismo and bright tenor high notes as Rafael.

The opera tells its tale of woe as a succession of impressive arias, dulcet duets and rousing choruses.

The supporting cast is also excellent, with Nancy Fabiola Herrera as the gypsy fortune-teller who foresees tragedy to come. Juan Carlos Heredia is excellent as Rafael’s loyal picador, Hormigón. Rubén Amoretti plays the village priest, Padre Anton, with a combination of paternal sincerity and comic good cheer.

If you are looking for a rewarding entirely new opera experience, don’t miss “El Gato Montés.” Who knows when you’ll get another chance.

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